FOREWORD TO THE FOURTH EDITION

MUCH HAS happened in the field of stage lighting
since this little book first made its appearance. The ellip-
soidal reflector spotlight had not been developed; the
fresnel spot was just appearing in 1932. The electronic
dimmer had only been thought of, and even the auto-
transformer was scarcely considered as useful in the
theatre. Most of these important developments in the
field of equipment and more have become integrated
into our basic layouts for lighting the stage. In many
respects the objectives of the system laid out here can
now be more easily achieved. Also along with the great
physical improvements-release from artistic as well as
technical limitations--the principles of the "method"
still serve as a valid technique for lighting most dramatic
productions.
  There is some justification for the criticism that there
is no specific chapter on control-switchboards. There
should be a separate book on the subject for the student.
So much has happened in this field since the war that
a book written a year or so ago would already be obsolete
in most technical details. The "method" does imply the
objectives of control--the regulation of intensity, color,
distribution and movement -- over various groups of
lights and even indicates the number of circuits for sepa-
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rate dimmer control. But this vitally important and rapidly
developing aspect of stage lighting needs to be explained in an
organized and simplified way to the student or beginner in the
theatre probably in a separate book.
There are also questions as to how the "method" applies to
"Arena" type of production. Less often the problems of lighting
musical shows, pageants, ballets, and even circuses come up. The
answer is not precise, but the basic principles of the "method"
really hold.

 Just as it is necessary to treat the "method" with great
latitude--by using some times more specials than standard acting
area units--so should each problem of lighting be approached to
give the most direct expression to dramatic visual effect.
Visibility, naturalism, composition, and atmosphere are the
objectives for lighting no matter what the form of theatre or
type of production.